Ewelina’s Crying was Anna Karasińska’s theatrical debut. A graduate of the National Film School in Łódź, she attempted to set the record straight regarding gossip about and the public images of star actors in a play starring Adam Woronowicz, Maria Maj, Ewelina Pankowska, and Rafał Maćkowiak.
Ewelina’s Crying plays with theatrical conventions, comically recording Anna Karasińska’s reactions at TR Warszawa. The play was created as a result of her participation in the TR Territory programme, which supports young artists. The artist explains:
During my work I realised that in a natural way I paid more attention to what was happening around the TR Territory competition, the way a meeting in a particular place with particular people affects me, than to the very same development of an idea for the play. That is why my project became a record of what happened on the margin of my actual work during the all-terrain workshops. Ewelina’s Crying talks about the way our participation in the world of art affects us and about detecting the relationship between what is pictured, what is private, and what is public. It is a project about the fact that other people know more about ourselves than we do. We disassemble a theatrical situation to enter into proximity with spectators and ourselves. The absurdity of the situation we created makes it possible to escape the area of expectations and schemes. In our work we repeatedly overturned everything upside down and experienced a sense of freedom which, hopefully, is also sensed by our viewers.
The play was largely acclaimed by the critics and audience of the 51st Small Theatre Forms Festival KONTRAPUNKT in Szczecin, awarding Anna Karasińska with the Kazimierz Krzanowski Award for brilliance, intelligence, and consequence in creating a statement that destroys traditional hierarchies and shows how trust is important in theatre. The jury of the festival also singled out the actors for showing the value of collective work in theatre, creating a perfectly cooperating team which plays with its identity by asking important questions about what it means to stay oneself in the contemporary world.
Ewelina’s Crying is also among the greatest plays of 2015 in journalists’ lists. Witold Mrozek of Gazeta Wyborcza noticed that Ewelina’s Crying is ‘a comedy woven with notions of theatrical magic, dreams of an acting career (…)’:
Karasińska toys with different layers of fiction, mocking the cult of stars and of glamour-style avant-garde. (…) He reminds that the greatest strength of TR is the group of actors. How do they play amateurs playing themselves? With witty charm and self-mocking distance. Modest and a little bit lost on the stage, the actors seem not to fit into public images they talk about and which exist in colourful journals and gossip columns. Obviously there is a notion of narcissism and coquetry inextricably joined with acting. But it is hard not to buy it.
Paweł Soszyński commented in Dwutygodnik:
Ewelina's Crying charms with its dramatic style. All its ideas and scenes are used to their full theatrical advantage, and last exactly as long as they should. The dialogue is never overdone; it hits the spot. The precision of the play is astounding. Karasińska has wonderful partners: Maria Maj, the brilliant Ewelina Pankowska, Adam Woronowicz, and Rafał Maćkowiak.
Directed by: Anna Karasińska
Dramaturgic cooperation: Magdalena Rydzewska
Choreography: Marta Ziółek
Director’s assistant: Ewelina Pankowska
The premiere took place on October 1st, 2015
Source: TR Warszawa, Gazeta Wyborcza, Dwutygodnik.com
Author: Anna Legierska, October 2016, translated by Antoni Wiśniewski, October 2016